Edmund Burke Feldmanâs Model of Art Criticism
Description
Make a list of the visual qualities of the work that are obvious and immediately perceived. Ask students âWhat do you see in the artworkâ? and âWhat elseâ? Includes content and subject matter in representational works, includes abstract elements in nonrepresentational pieces.
Analysis
Focus on the formal aspects of elements of art, principles of design, and other formal considerations: exaggeration, composi- tion etc. âHow does the artist create a center of interest?â How does the use of color impact the painting?â
Interpretation
Propose ideas for possible meaning based on evidence. Viewers project their emotions/feelings/intentions onto the work. âWhat do you think it meansâ? âWhat was the artist trying to communicateâ? âWhat clues do you see that support your ideasâ?
–See Barrett’s Principles of Interpretation below
Judgment
Discuss the overall strengths/success/merit of the work and failures/challenges/issues.
Principles of Interpretation
Barrett, Terry. (1994) Criticizing Art: Understanding the Contemporary. Mountain View, California: Mayfield Publishing Compa ny.
1. Artworks have “aboutness” and demand interpretation.
2. Interpretations are persuasive arguments.
3. Some interpretations are better than others.
4. Good interpretations of art tell more about the artwork than they tell about the critic.
5. Feelings are guides to interpretations.
6. There can be different, competing, and contradictory interpretations of the same artwork.
7. Interpretations are often based on a worldview.
8. Interpretations are not so much absolutely right, but more or less reasonable, convincing, enlightening, and informative.
9. Interpretations can be judged by coherence, correspondence, and inclusiveness.
10. An artwork is not necessarily about what the artist wanted it to be about.
11. A critic ought not to be the spokesperson for the artist.
12. Interpretations ought to present the work in its best rather than its weakest light. 13. The objects of interpretation are artworks, not artists.
14. All art is in part about the world in which it emerged.
15. All art is in part about other art.
16. No single interpretation is exhaustive of the meaning of an artwork.
17. The meanings of an artwork may be different from its signifi- cance to the viewer. Interpretation is ultimately a communal en- deavor, and the community is ultimately self- corrective.
18. Good interpretations invite us to see for ourselves and to con- tinue on our own.
Use this outline and these prompt questions to write about your partner’s work.
Grading Criteria: respectful, constructive, honest, and quality/meaningful responses and reflections.
VISUAL THINKING POST
Use these questions to write about the selected artwork.
Grading Criteria: respectful, constructive, honest, and quality/meaningful responses.
1. Description: Describe what your artwork.
Make a list of the visual qualities of the work that are obvious and immediately perceived. Ask students âWhat do you see in the artworkâ? and âWhat elseâ? Includes con- tent and subject matter in representational works, includes abstract elements in nonrepresentational pieces.
2. Analysis: What makes the piece interesting and why?
Focus on the formal aspects of elements of art, principles of design, and other formal considerations: exaggeration, composition etc. âHow does the artist create a center of interest?â How does the use of color impact the painting?â
3. Interpretation: What does it mean?
Propose ideas for possible meaning based on evidence. Viewers project their emotions/feelings/intentions onto the work. âWhat do you think it meansâ? âWhat was the artist trying to communicateâ? âWhat clues do you see that support your ideasâ?
4. Judgement: Describe your successes and failures working on this project.
Discuss the overall strengths/success/merit of the work and failures/challenges/issues.